ELECTRIC ANGEL is an attempt to recapitulate the multiple forms of erotic experience, both ontologically and mythologically, at a given stage of civilization - the twentieth century. Through the uniqueness of its form ELECTRIC ANGEL molds a universe of heterogenic images which respond accurately or proportionately to the basic models which coexist in the Alexandrian character of our age. The film's style could not, of course, be one-dimensional and homogenic. Heterogeny and multiplicity of shapes are the substance of erotic fantasy and in all its manifestations may be discerned an almost exclusive particularity in molding both ethic and myth. I did not attempt to reveal the common biological substrata which is anyway an absolutely necessary presupposition but to investigate the intellectual basis of the diverse conceptions which either act together or counteract the multiple forms of eroticism. And so ELECTRIC ANGEL is a sum total of series and sequences of images articulated as the case may be in the special way which befits the situation mentioned. The autonomy of the character and style of each part is indispensable both for its development and for its differentiation from the rest. The correlations between the parts exclude every hierarchic order and causative sequence. The basic condition of their interplay is clearly rhythmic and entirely anti-dramatic. The result of this freedom of correlations is also the freedom to produce meanings which are a byproduct more of the ability to interpret than of any exclusions since every exclusion provokes, almost unexpectedly, yet another possibility. The potential dimension of the propositions set forth by ELECTRIC ANGEL leads to an intoxicating enjoyment when imagination is added. The internalisation and externalisation of erotic models directly reflect the dispositions cultivated in the whole spectrum of our civilisation, making the film both a poetic approach to eroticism and to civilisation.